Book contents
- Stravinsky in Context
- Composers in Context
- Stravinsky in Context
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Abbreviations
- Frontispiece
- Epigraph
- Part I Russia and Identity
- Part II Stravinsky and Europe
- Part III Partnerships and Authorship
- Part IV Performance and Performers
- Chapter 17 Challenges to Realism and Tradition: Stravinsky’s Modernist Theatre
- Chapter 18 Igor Stravinsky and Ballet as Modernism
- Chapter 19 Stravinsky’s Ear for Instruments
- Chapter 20 Towards a Conductor-Proof Ideal
- Chapter 21 The Pianist in the Recording Studio: Reimagining Interpretation
- Chapter 22 The Legacy of Stravinsky as Recorded History
- Part V Aesthetics and Politics
- Part VI Reception and Legacy
- Recommendations for Further Reading and Research
- Index
- Endmatter
Chapter 20 - Towards a Conductor-Proof Ideal
from Part IV - Performance and Performers
Published online by Cambridge University Press: 03 December 2020
- Stravinsky in Context
- Composers in Context
- Stravinsky in Context
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Abbreviations
- Frontispiece
- Epigraph
- Part I Russia and Identity
- Part II Stravinsky and Europe
- Part III Partnerships and Authorship
- Part IV Performance and Performers
- Chapter 17 Challenges to Realism and Tradition: Stravinsky’s Modernist Theatre
- Chapter 18 Igor Stravinsky and Ballet as Modernism
- Chapter 19 Stravinsky’s Ear for Instruments
- Chapter 20 Towards a Conductor-Proof Ideal
- Chapter 21 The Pianist in the Recording Studio: Reimagining Interpretation
- Chapter 22 The Legacy of Stravinsky as Recorded History
- Part V Aesthetics and Politics
- Part VI Reception and Legacy
- Recommendations for Further Reading and Research
- Index
- Endmatter
Summary
The impact of The Rite of Spring upon the direction of twentieth-century music is well documented, its repercussions strongly felt ever since its explosive premiere on 29 May 1913. Yet, while audiences revel in this work’s many dynamic and atmospheric qualities, and while composers of all generations since that premiere have engaged with its impressive technical/rhythmical intricacies, The Rite’s impact upon those who are charged with actually delivering the work ‘live’ on the concert platform or in the recording studio, that is, the orchestral musicians, has been relatively neglected. Few, though, would challenge the assertion made by Martyn Brabbins, the current musical director of English National Opera, that The Rite of Spring has ‘single-handedly transformed the role and function of the conductor’.
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- Stravinsky in Context , pp. 179 - 186Publisher: Cambridge University PressPrint publication year: 2020